tag:blogger.com,1999:blog-59820481008932506192024-02-21T07:25:52.092+00:00Romantic RealignmentsAn interdisciplinary seminar in Literature and Cultural History 1780-1830Anonymoushttp://www.blogger.com/profile/04246740966042458681noreply@blogger.comBlogger125125tag:blogger.com,1999:blog-5982048100893250619.post-86950242032069914672014-10-08T11:17:00.000+01:002014-10-08T11:31:42.084+01:002014 : New Romanticism Research Seminar Series<div dir="ltr" style="text-align: left;" trbidi="on">
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<span style="color: white; font-family: Georgia, Times New Roman, serif; font-size: large;">As of Michaelmas 2014, Romantic Realignments will become the '<b>Romanticism Research Seminar</b>', and will be held fortnightly at Lincoln College.</span></div>
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<span style="color: white; font-family: Georgia, Times New Roman, serif; font-size: large;">(Please bear with us as the website undergoes a few alterations to its structure to incorporate this change.)</span></div>
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<span style="color: white; font-family: Georgia, Times New Roman, serif; font-size: large;">The seminar will be held at <u>5:30pm</u> in the<u> Turl Yard lecture Hall, Lincoln College</u> on the following <u>Mondays</u>: </span></div>
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<span style="color: white; font-family: Georgia, Times New Roman, serif; font-size: large;">Week 3 (27 Oct): Professor Lucy Newlyn (St Edmund Hall) interviewed by Nicholas Halmi about her recently published dual biography of Dorothy and William Wordsworth</span></div>
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<span style="color: white; font-family: Georgia, Times New Roman, serif; font-size: large;">Week 5 (10 Nov): Ben Markovits, author of <i>A Quiet Adjustment </i>and other novels inspired by Lord Byron's life (his Faber webpage describes him as having "left an unpromising career as a professional basketball player to study the Romantics")</span></div>
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<span style="color: white; font-family: Georgia, Times New Roman, serif; font-size: large;">Week 7 (24 Nov): Dr Erica McAlpine (Robin Geffen Career Development Fellow in English, Keble College) and Heather Stone (DPhil student in English at Brasenose College)</span></div>
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<span style="color: white; font-family: Georgia, Times New Roman, serif; font-size: large;">We look forward to a new academic year and many new faces at the seminar! </span></div>
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<span style="color: white; font-family: Georgia, Times New Roman, serif; font-size: large;">-Nicholas Halmi and Fiona Stafford, convenors</span></div>
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jfhttp://www.blogger.com/profile/12662360834367334989noreply@blogger.com0tag:blogger.com,1999:blog-5982048100893250619.post-57502816207308680722014-06-05T06:54:00.000+01:002014-06-05T16:26:01.612+01:00Week 6 - "Wordsworth in America"<div style="text-align: center;">
<span style="color: white; font-family: Georgia, Times New Roman, serif; font-size: large;"><b>Judyta Frodyma</b></span></div>
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<span style="color: white; font-family: Georgia, Times New Roman, serif; font-size: x-small;"><b>William Wordsworth's House, Rydal Mount, c. 1897</b></span></div>
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<span style="color: white; font-family: Georgia, Times New Roman, serif; font-size: large;">For our final seminar of the term - and of this academic year - we're delighted to be welcoming back former Romantic Realignments convenor, Judyta Frodyma, who's going to be speaking to us about the reception of Wordsworth's works and ideas in America. As ever, all are welcome at both the seminar and the wine reception afterwards - held from 5:15pm, St Cross (English Faculty) Building, Seminar Room A - so please join us for what promises to be a fantastic talk to wrap up the 2013-2014 programme. </span></div>
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<span style="color: white; font-family: Georgia, Times New Roman, serif; font-size: large;">I examine Wordsworth’s reach as a ‘prophet of the nation’ by exploring the reception of his poetry on the other side of the Atlantic. I take my lead from Elizabeth Peabody’s letters and manuscripts and other Transcendentalist writers. Peabody says of Wordsworth that he was ‘the Messiah of the reign of the saints,' and 'a true Christian prophet.’ Wordsworth’s initial impact on America was one that strongly resonated with Unitarian readings of Scripture. I will compare the American approach to landscape in the late nineteenth century with Wordsworth’s own, and address the widely-used rhetoric of Wordsworth’s ‘ministry’ and ‘followers’, including American ‘worshippers’ who made ‘pilgrimages’ to Rydal Mount. Wordsworth’s ‘real language of men’, as well as his prophetic calling, was thus carried beyond the British landscape into a landscape of English language in America. </span></div>
Anonymoushttp://www.blogger.com/profile/07958145658444598131noreply@blogger.com0tag:blogger.com,1999:blog-5982048100893250619.post-42831385795291713242014-05-28T17:33:00.000+01:002014-05-28T17:34:31.028+01:00Week 5 – 'Between Individual and General History: Godwin's Seventeenth-Century Texts'<div style="text-align: center;">
<span style="font-family: Times, 'Times New Roman', serif; font-size: x-large;">Professor Tilottama Rajan, University of Western Ontario</span></div>
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<span style="font-family: Times, 'Times New Roman', serif; font-size: large;">For this penultimate Romantic Realignments of the year, we're delighted to be welcoming Tilottama Rajan, Director of the Centre for the Study of Theory and Criticism at the University of Western Ontario. She will be speaking on the subject of William Godwin's historiography – specifically, the different optics through which he looks at the seventeenth century. All welcome as always in Seminar Room A at 5.15!</span></div>
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<span style="font-family: Times, Times New Roman, serif; font-size: large;">This paper argues that Godwin was writing a world history in bits and pieces, through his novels, histories, biographies and children's books, and that these different genres give us different optics on history. Within this larger framework he was particularly interested in the Cromwellian period as a lost republican moment that has particular resonances in his own time (around Ireland, the pamphlet wars, the suppression of radical dissent, and the "Restoration" of stability in 1660 and 1816). The paper begins with Godwin's essay on individual vs general history and then works between two very different texts: <i>The History of the Commonwealth</i> as an impersonal, long-durational history, and the intensive focus of<i> Mandeville</i> on a misanthropic individual against the backdrop of the religious divisions and fanaticism of the period, which I see as connected with misanthropy.</span></div>
Anonymoushttp://www.blogger.com/profile/04246740966042458681noreply@blogger.com0tag:blogger.com,1999:blog-5982048100893250619.post-59548974437728131912014-05-21T15:41:00.003+01:002014-05-22T00:55:15.044+01:00Week 4 – 'Clare's Mutterings: The Sound of Health in the Pre-Asylum Poetry'<!--[if gte mso 9]><xml>
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<span style="font-family: Times, Times New Roman, serif; font-size: large;">This week our speaker is Oxford's own Erin Lafford, who will be sharing some of her work on the connections between poetic form and mental and physical health in the poetry of John Clare. All welcome as always in Seminar Room A, 5.15 pm!</span></div>
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<span style="font-size: large;"><span style="font-family: Times, Times New Roman, serif;">This paper discusses how health might function
through sound in John Clare’s pre-asylum poems (1820-1837). Many critics have considered Clare’s
madness, but few have addressed the experience of health in his poetry.<span style="mso-spacerun: yes;"> </span>How can we read, or hear, a healthy
Clare?<span style="mso-spacerun: yes;"> </span>I will think about an
experience of health through sound in relation to Clare’s representation of
health as a </span><span style="font-family: Times, 'Times New Roman', serif;">‘</span><span style="font-family: Times, 'Times New Roman', serif;">voice</span><span style="font-family: Times, 'Times New Roman', serif;">’</span><span style="font-family: Times, 'Times New Roman', serif;"> that </span><span style="font-family: Times, 'Times New Roman', serif;">‘</span><span style="font-family: Times, 'Times New Roman', serif;">greets</span><span style="font-family: Times, 'Times New Roman', serif;">’</span><span style="font-family: Times, 'Times New Roman', serif;"> him alongside another vocal phenomenon in his
poetry.</span><span style="font-family: Times, 'Times New Roman', serif;"> </span><span style="font-family: Times, 'Times New Roman', serif;">Mutterings and the
sub-vocal frequently appear as a kind of nature-speech: utterances of rivers,
winds and trees emanate from the natural world and ‘speak’ to Clare.</span><span style="font-family: Times, 'Times New Roman', serif;"> </span><span style="font-family: Times, 'Times New Roman', serif;">Sub-vocal communication also appears as
a way for Clare to figure an affective relationship with the natural world.</span><span style="font-family: Times, 'Times New Roman', serif;"> </span><span style="font-family: Times, 'Times New Roman', serif;">I will consider Clare’s instances of
muttering in relation to the observations and insanity treatises surrounding
his entrance into High Beech and, later, Northampton asylum, many of which cite
mutterings and murmurings as evidence of insanity.</span><span style="font-family: Times, 'Times New Roman', serif;"> </span><span style="font-family: Times, 'Times New Roman', serif;">I consider what the ‘voice’ of health might sound like for
Clare through both Gilles Deleuze’s notion of </span><span style="font-family: Times, 'Times New Roman', serif;">‘</span><span style="font-family: Times, 'Times New Roman', serif;">affective</span><span style="font-family: Times, 'Times New Roman', serif;">’</span><span style="font-family: Times, 'Times New Roman', serif;"> vocal disturbances (</span><i style="font-family: Times, 'Times New Roman', serif;">Essays Critical and Clinical</i><span style="font-family: Times, 'Times New Roman', serif;">, 1993) and
Gaston Bachelard’s healthy poetics of ‘reverie’ made up of different </span><span style="font-family: Times, 'Times New Roman', serif;">‘</span><span style="font-family: Times, 'Times New Roman', serif;">perceptible registers</span><span style="font-family: Times, 'Times New Roman', serif;">’</span><span style="font-family: Times, 'Times New Roman', serif;"> (</span><i style="font-family: Times, 'Times New Roman', serif;">The Poetics of
Reverie</i><span style="font-family: Times, 'Times New Roman', serif;">, 1960). Through Deleuze and Bachelard, I consider Clare’s voice of
health as one that is attuned to the incoherent sounds of the natural world,
allowing me to suggest that Clare’s pre-asylum mutterings do not foreshadow a
descent into madness, but allow us to think about health at and below the level
of language in his p</span><a href="https://www.blogger.com/blogger.g?blogID=5982048100893250619" name="_GoBack" style="font-family: Times, 'Times New Roman', serif;"></a><span style="font-family: Times, 'Times New Roman', serif;">oems.</span></span></div>
Anonymoushttp://www.blogger.com/profile/04246740966042458681noreply@blogger.com0tag:blogger.com,1999:blog-5982048100893250619.post-41669926420467912602014-05-13T22:36:00.000+01:002014-05-14T02:07:05.421+01:00Week 3 – 'Reading, Improvement, and Scottish Labouring-Class Memoirs (1800–1860)'<div style="text-align: center;">
<span style="color: #e06666; font-family: Times, Times New Roman, serif; font-size: x-large;">Dr Alexander Dick, UBC</span></div>
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<span style="font-family: Times, Times New Roman, serif; font-size: large;">Our speaker this week will be Alexander Dick of the University of British Columbia, who comes to us via Edinburgh where he's currently a visiting research fellow at the Institute for Advanced Studies in the Humanities. Abstract for the talk below; all welcome as ever!</span><br />
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<span style="font-family: Times, Times New Roman, serif; font-size: large;">This paper is a chapter of my current research project, <i>Scottish Agriculture and the Literature of Improvement 1750-1850</i> which studies the impact of the Scottish agricultural revolution on the ecology, culture, and literature of Scotland during the eighteenth and nineteenth century. The first half of that project considers how Scottish landowners and the philosophers and scientists they patronized refashioned the rural landscape of post-union Scotland in the image of enlightenment reason. It also considers how these same improvers confronted and described the already existing practices and cultures of Scottish agriculture and how this confrontation compelled them to change the strategies by which their mandate would appear and circulating, changes that led to the development of many of the institutions and genres of the Scottish Romanticism, including the intellectual journal, the statistical survey, and the historical novel. The second half of the project looks at this process from the receiving end, focusing on the reading strategies--some complicit, some resistant, often both--of rural labouring-class Scots during the improvement period and traces their engagement with the questions of religion, education, and ecology with which the improvers were also contending. The concluding chapter, from which the present paper comes, examines labouring-class memoirs from the late eighteenth and through first half of the nineteenth centuries. The memoirs are interesting, I suggest, primarily for the way they foreground the mixed character of labouring-class reading, its combination of Calvinist and improvement principles. Many of the memoirists were particularly inspired by the example of Robert Burns and use his story as a model not only for their hopes of personal betterment but also as a conduit for the senses of failure and alienation.</span>Anonymoushttp://www.blogger.com/profile/04246740966042458681noreply@blogger.com0tag:blogger.com,1999:blog-5982048100893250619.post-63938229414692485162014-05-07T23:17:00.000+01:002014-05-13T21:55:04.357+01:00Week 2 - "The Culture of the Copy in Irish Romanticism"<br />
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<b><span style="color: white; font-size: x-large;">Professor Claire Connolly</span></b></div>
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<span style="font-family: Georgia, Times New Roman, serif; font-size: large;"><span style="color: white;">For our second seminar of Trinity, we're delighted to be welcoming Professor Claire Connolly - Head of the School of English at University College Cork - who's visiting from Ireland to speak to us about the culture of the copy in Irish Romanticism. The cultural legacies of Irish Romanticism and its geographical range will be considered through the lens of book history, as detailed below:</span></span></div>
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<b><u><span style="color: white;">Abstract</span></u></b></div>
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<span style="color: white;">Following closely in the footsteps of Edmund Burke’s defense of a politics founded on a specific, just, and timely engagement with a properly apprehended past, Irish novels realize, in a variety of registers, a set of affective attachments to the local, the material, and the ordinary. Even as they occupy themselves with histories of everyday life, however, Irish Romantic novels remain self-consciously absorbed with the complex historical and material processes whereby Irish life is realized within Anglophone print culture. This paper considers a particular interest in ideas of copies and copying in Irish writing and argues that a longer and more fluid conception of Irish romanticism emerges as a result of such a focus.</span></div>
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<span style="color: white;">Join us tomorrow - same time, same place - for what promises to be a fascinating talk. All are, as ever, most welcome to attend both the seminar and the wine reception that follows; we warmly encourage you to do so.</span></div>
</span>Anonymoushttp://www.blogger.com/profile/07958145658444598131noreply@blogger.com0tag:blogger.com,1999:blog-5982048100893250619.post-76633956340579608052014-05-01T01:04:00.001+01:002014-05-01T01:04:22.718+01:00Week 1 – 'Romantic Self-Advertising: The Art of the Prospectus'<div style="text-align: center;">
<span style="color: #e06666; font-family: Times, Times New Roman, serif; font-size: x-large;">Professor David Duff, University of Aberdeen</span></div>
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<span style="color: #e06666; font-family: Times, Times New Roman, serif; font-size: large;">We kick off our Trinity term programme with a visit from David Duff, who will be speaking about the interesting subgenre that is the Romantic prospectus. As always, everyone is welcome in Seminar Room A for wine and discussion! </span></div>
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Anonymoushttp://www.blogger.com/profile/04246740966042458681noreply@blogger.com0tag:blogger.com,1999:blog-5982048100893250619.post-23711194398367546252014-04-28T20:09:00.001+01:002014-04-28T20:09:48.407+01:00Trinity 2014 Termcard<div style="text-align: center;">
<span style="font-family: Times, Times New Roman, serif; font-size: x-large;">Romantic Realignments</span></div>
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<span style="font-family: Times, Times New Roman, serif; font-size: large;">Thursdays at 5.15, English Faculty Building, Seminar Room A</span></div>
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<b><span style="font-family: Times, Times New Roman, serif; font-size: large;">Week 1, 1 May:<span style="mso-tab-count: 1;"> </span></span></b></div>
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<span style="line-height: 200%;"><span style="font-family: Times, Times New Roman, serif; font-size: large;">David
Duff, University of Aberdeen</span></span></div>
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<span style="font-family: Times, Times New Roman, serif; font-size: large;"><span style="mso-tab-count: 1;"> </span><span style="mso-tab-count: 1;"> </span><span style="mso-tab-count: 1;"> </span>Romantic
Self-Advertising: The Art of the Prospectus</span></div>
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<b><span style="font-family: Times, Times New Roman, serif; font-size: large;">Week 2, 8 May:<span style="mso-tab-count: 1;"> </span></span></b></div>
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<span style="font-family: Times, Times New Roman, serif; font-size: large;">Claire
Connolly, University College Cork</span></div>
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<span style="font-family: Times, Times New Roman, serif; font-size: large;"><span style="mso-tab-count: 1;"> </span><span style="mso-tab-count: 1;"> </span><span style="mso-tab-count: 1;"> </span>The
Culture of the Copy in Irish Romanticism</span></div>
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<b><span style="font-family: Times, Times New Roman, serif; font-size: large;">Week 3, 15 May:<span style="mso-tab-count: 1;"> </span></span></b></div>
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<span style="font-family: Times, Times New Roman, serif; font-size: large;">Alexander
Dick, University of British Columbia</span></div>
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<span style="line-height: 200%;"><span style="font-family: Times, Times New Roman, serif; font-size: large;">Reading,
Improvement, and Scottish Labouring-Class Memoirs (1800–1860)</span></span></div>
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<b><span style="font-family: Times, Times New Roman, serif; font-size: large;">Week 4, 22 May:<span style="mso-tab-count: 1;"> </span></span></b></div>
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<span style="font-family: Times, Times New Roman, serif; font-size: large;">Erin
Lafford, Corpus Christi College, Oxford</span></div>
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<span style="font-family: Times, Times New Roman, serif; font-size: large;"><span style="mso-tab-count: 1;"> </span><span style="mso-tab-count: 1;"> </span><span style="mso-tab-count: 1;"> </span>Clare’s
Mutterings: The Sound of Health in the Pre-Asylum Poetry</span></div>
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<span style="font-family: Times, Times New Roman, serif; font-size: large;"><span style="mso-tab-count: 1;"> </span>Tilottama
Rajan, University of Western Ontario</span></div>
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<span style="line-height: 200%;"><span style="font-family: Times, Times New Roman, serif; font-size: large;">Between
Individual and General History: Godwin’s Seventeenth-Century Texts</span></span></div>
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<span style="font-family: Times, Times New Roman, serif; font-size: large;">Judyta
Frodyma, St Catherine’s College, Oxford</span></div>
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in America</span></div>
Anonymoushttp://www.blogger.com/profile/04246740966042458681noreply@blogger.com0tag:blogger.com,1999:blog-5982048100893250619.post-73102663450656114932014-04-09T11:51:00.000+01:002014-04-09T11:51:07.798+01:00CFP - The 'Exotic' Body in 19th-Century British Drama<div style="text-align: justify;">
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alike - as well as those working within the context of theatre studies in
general; abstracts and short biographies to be sent, by 25<sup>th</sup> May
2014, to: <u><a href="mailto:rebedconference@gmail.com">rebedconference@gmail.com</a></u></span></span><span style="font-family: "Times New Roman","serif"; font-size: 16.0pt; mso-fareast-font-family: "Times New Roman"; mso-fareast-language: EN-GB;"><o:p></o:p></span></div>
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<b><span style="font-family: Georgia, serif; font-size: 24pt; font-variant: small-caps; line-height: 115%;"><span style="color: #6fa8dc;">The ‘Exotic’
Body in 19th-century British Drama</span></span></b><span style="font-family: Georgia, serif; font-size: 13.5pt; line-height: 115%;"><o:p></o:p></span></div>
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<span style="color: white;"><span style="font-family: Georgia, serif; font-size: 9.5pt; line-height: 115%;">University of Oxford</span><span style="font-family: Georgia, serif; font-size: 13.5pt; line-height: 115%;"><o:p></o:p></span></span></div>
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<span style="font-family: Georgia, serif; font-size: 9.5pt; line-height: 115%;"><span style="color: white;">Funded under the 2011 Marie Curie
Intra-European Fellowships scheme, European Commission</span></span><span style="font-family: Georgia, serif; font-size: 13.5pt; line-height: 115%;"><o:p></o:p></span></div>
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<span style="color: #6fa8dc;"><b><span style="font-family: Georgia, serif; font-size: 9.5pt; line-height: 115%;">25-26 September 2014</span></b><span style="font-family: Georgia, serif; font-size: 13.5pt; line-height: 115%;"><o:p></o:p></span></span></div>
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<span style="color: #6fa8dc;"><b><span style="font-family: Georgia, serif; font-size: 9.5pt; line-height: 115%;">Faculty of English Language and
Literature, University of Oxford</span></b><span style="font-family: Georgia, serif; font-size: 13.5pt; line-height: 115%;"><o:p></o:p></span></span></div>
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</span><span style="color: white;"><span style="font-family: Georgia, serif; font-size: 9.5pt; line-height: 115%;">Convenor: Dr Tiziana Morosetti (Oxford)</span><span style="font-family: Georgia, serif; font-size: 13.5pt; line-height: 115%;"><o:p></o:p></span></span></div>
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</span><span style="font-family: Georgia, serif; font-size: 9.5pt; line-height: 115%;">Confirmed speakers:</span><span style="font-family: Georgia, serif; font-size: 13.5pt; line-height: 115%;"><o:p></o:p></span></span></div>
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<span style="color: white;"><span style="font-family: Georgia, serif; font-size: 9.5pt; line-height: 115%;">Professor Ross Forman (Warwick), Dr
Peter Yeandle (Manchester), </span><span style="font-family: Georgia, serif; font-size: 13.5pt; line-height: 115%;"><o:p></o:p></span></span></div>
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<span style="color: white;"><span style="font-family: Georgia, serif; font-size: 9.5pt; line-height: 115%;">Dr Hazel Waters (Institute of Race
Relations, London)</span><span style="font-family: Georgia, serif; font-size: 13.5pt; line-height: 115%;"><o:p></o:p></span></span></div>
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<span style="color: white;"><span style="font-family: Georgia, serif; font-size: 9.5pt; line-height: 115%;">Increasing
attention has been paid in recent years to the representation of the Other on
the 19</span><sup><span style="font-family: Georgia, serif; font-size: 6pt; line-height: 115%;">th</span></sup><span style="font-family: Georgia, serif; font-size: 9.5pt; line-height: 115%;">-century British stage, with key
studies such as <i>Acts of Supremacy: The British Empire and the Stage,
1790-1930</i> (Bratton et al. 1991), <i>The Orient on the Victorian Stage</i>
(Ziter 2003), <i>Bodies in Dissent: Spectacular Performances of Race and
Freedom, 1850-1910</i> (Brooks 2006), <i>Racism on the Victorian Stage:
Representation of Slavery and the Black Character</i> (Waters 2007), <i>Nineteenth-Century
Theatre and the Imperial Encounter </i>(Gould 2011), <i>China and the Victorian
Imagination: Empires Entwined </i>(Forman 2013). Building on these, the
conference aims at exploring the concept, politics, and aesthetic features of
the ‘exotic’ body on stage, be it the actual body of the actor/actress as s/he
performs in genres such as the ‘Oriental’ extravaganza, or the fictional,
‘picturesque’ bodies they bring on stage. A term that in itself needs
interrogation, the ‘exotic’ will therefore be discussed addressing the visual
features that characterize the construction and representation of the Other in
19</span><sup><span style="font-family: Georgia, serif; font-size: 6pt; line-height: 115%;">th</span></sup><span style="font-family: Georgia, serif; font-size: 9.5pt; line-height: 115%;">-century British drama, as well as the material
conditions, and techniques that accompany the ‘exotic’ on stage on the cultural
and political background of imperial Britain. </span><span style="font-family: Georgia, serif; font-size: 13.5pt; line-height: 115%;"><o:p></o:p></span></span></div>
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<br /></div>
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<span style="color: white;"><span style="font-family: Georgia, serif; font-size: 9.5pt; line-height: 115%;">One
of the dissemination activities for the two-year project ‘The Representation of
the “Exotic” Body in 19th-century English Drama’ (REBED), funded under the 2011
Marie Curie Intra-European Fellowships scheme, the conference also hopes to
function as a site for discussing the state of the art on the ‘exotic’ in the
theatrical cultures of both Romantic and Victorian Britain; contributions on
ongoing research and/or recently completed projects are therefore particularly
encouraged. </span><span style="font-family: Georgia, serif; font-size: 13.5pt; line-height: 115%;"><o:p></o:p></span></span></div>
<div class="MsoNormal">
<span style="color: white;"><span style="font-family: Georgia, serif; font-size: 9.5pt; line-height: 115%;"><br />
<!--[if !supportLineBreakNewLine]--><br />
<!--[endif]--></span><span style="font-family: Georgia, serif; font-size: 13.5pt; line-height: 115%;"><o:p></o:p></span></span></div>
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<span style="color: white;"><span style="font-family: Georgia, serif; font-size: 9.5pt; line-height: 115%;">Although
attention will be paid mostly to the non-European Other, papers addressing a
European ‘exotic’ are also welcome.</span><span style="font-family: Georgia, serif; font-size: 13.5pt; line-height: 115%;"><o:p></o:p></span></span></div>
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<br /></div>
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<span style="font-family: Georgia, serif; font-size: 9.5pt; line-height: 115%;"><span style="color: white;">Topics
include the following:</span></span><span style="font-family: Georgia, serif; font-size: 13.5pt; line-height: 115%;"><o:p></o:p></span></div>
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<br /></div>
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<span style="color: #6fa8dc;"><b><span style="font-family: Georgia, serif; font-size: 9.5pt; line-height: 115%;">Definitions
of ‘exotic’</span></b><span style="font-family: Georgia, serif; font-size: 9.5pt; line-height: 115%;">: </span></span><span style="font-family: Georgia, serif; font-size: 13.5pt; line-height: 115%;"><o:p></o:p></span></div>
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<span style="color: white;"><span style="font-family: Georgia, serif; font-size: 9.5pt; line-height: 115%;">-Is
the non-European Other on stage really ‘exotic’? </span><span style="font-family: Georgia, serif; font-size: 13.5pt; line-height: 115%;"><o:p></o:p></span></span></div>
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<span style="color: white;"><span style="font-family: Georgia, serif; font-size: 9.5pt; line-height: 115%;">-Are
any genres more ‘exotic’ (or more liable to convey ‘exotic’ stereotypes) than
others? </span><span style="font-family: Georgia, serif; font-size: 13.5pt; line-height: 115%;"><o:p></o:p></span></span></div>
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<span style="color: white;"><span style="font-family: Georgia, serif; font-size: 9.5pt; line-height: 115%;">-Do
different <i>dramatis personæ</i> and/or settings convey different degrees of
‘otherness’?</span><span style="font-family: Georgia, serif; font-size: 13.5pt; line-height: 115%;"><o:p></o:p></span></span></div>
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<span style="color: white;"><span style="font-family: Georgia, serif; font-size: 9.5pt; line-height: 115%;">-Can
the British on stage be ‘exotic’, and, if so, to what extent?</span><span style="font-family: Georgia, serif; font-size: 13.5pt; line-height: 115%;"><o:p></o:p></span></span></div>
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<span style="font-family: Georgia, serif; font-size: 9.5pt; line-height: 115%;"><span style="color: white;">-Is
the spectacular on stage itself ‘exotic’?</span></span><span style="font-family: Georgia, serif; font-size: 13.5pt; line-height: 115%;"><o:p></o:p></span></div>
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<br /></div>
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<span style="color: #6fa8dc;"><b><span style="font-family: Georgia, serif; font-size: 9.5pt; line-height: 115%;">Staging
the ‘exotic’ body</span></b><span style="font-family: Georgia, serif; font-size: 9.5pt; line-height: 115%;">:
</span></span><span style="font-family: Georgia, serif; font-size: 13.5pt; line-height: 115%;"><o:p></o:p></span></div>
<div class="MsoNormal">
<span style="color: white;"><span style="font-family: Georgia, serif; font-size: 9.5pt; line-height: 115%;">-How
are costumes, make-up, scenery, movements employed to construct the ‘exotic’? </span><span style="font-family: Georgia, serif; font-size: 13.5pt; line-height: 115%;"><o:p></o:p></span></span></div>
<div class="MsoNormal">
<span style="color: white;"><span style="font-family: Georgia, serif; font-size: 9.5pt; line-height: 115%;">-Are
any visual features more recurrent than others? </span><span style="font-family: Georgia, serif; font-size: 13.5pt; line-height: 115%;"><o:p></o:p></span></span></div>
<div class="MsoNormal" style="margin-left: 36pt; text-indent: -36pt;">
<span style="color: white;"><span style="font-family: Georgia, serif; font-size: 9.5pt; line-height: 115%;">-To what extent is the visual
representation of the ‘exotic’ body historically accurate? </span><span style="font-family: Georgia, serif; font-size: 13.5pt; line-height: 115%;"><o:p></o:p></span></span></div>
<div class="MsoNormal" style="margin-left: 36pt; text-indent: -36pt;">
<span style="color: white;"><span style="font-family: Georgia, serif; font-size: 9.5pt; line-height: 115%;">-How does music contribute to the
staging of the Other?</span><span style="font-family: Georgia, serif; font-size: 13.5pt; line-height: 115%;"><o:p></o:p></span></span></div>
<div class="MsoNormal" style="margin-left: 36pt; text-indent: -36pt;">
<span style="color: white;"><span style="font-family: Georgia, serif; font-size: 9.5pt; line-height: 115%;">-Who embodies the ‘exotic’? Is the
acting career informed by bringing the Other on stage?</span><span style="font-family: Georgia, serif; font-size: 13.5pt; line-height: 115%;"><o:p></o:p></span></span></div>
<div class="MsoNormal" style="margin-left: 14.2pt; text-indent: -14.2pt;">
<span style="color: white;"><span style="font-family: Georgia, serif; font-size: 9.5pt; line-height: 115%;">-Who were the audiences? Did their
composition have an impact on the performance of the ‘exotic’? </span><span style="font-family: Georgia, serif; font-size: 13.5pt; line-height: 115%;"><o:p></o:p></span></span></div>
<div class="MsoNormal" style="margin-left: 14.2pt; text-indent: -14.2pt;">
<span style="color: white;"><span style="font-family: Georgia, serif; font-size: 9.5pt; line-height: 115%;">-Are any experiences abroad relevant to
how managers staged the Other in Britain? </span><span style="font-family: Georgia, serif; font-size: 13.5pt; line-height: 115%;"><o:p></o:p></span></span></div>
<div class="MsoNormal" style="margin-left: 14.2pt; text-indent: -14.2pt;">
<span style="color: white;"><span style="font-family: Georgia, serif; font-size: 9.5pt; line-height: 115%;">-In what ways were representations of
the ‘exotic’ body informed by venues? </span><span style="font-family: Georgia, serif; font-size: 13.5pt; line-height: 115%;"><o:p></o:p></span></span></div>
<div class="MsoNormal" style="margin-left: 14.2pt; text-indent: -14.2pt;">
<span style="font-family: Georgia, serif; font-size: 9.5pt; line-height: 115%;"><span style="color: white;">-The Other on the London stage and the
provinces</span></span><span style="font-family: Georgia, serif; font-size: 13.5pt; line-height: 115%;"><o:p></o:p></span></div>
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<br /></div>
<div class="MsoNormal" style="margin-left: 36pt; text-indent: -36pt;">
<b><span style="font-family: Georgia, serif; font-size: 9.5pt; line-height: 115%;"><span style="color: #6fa8dc;">Cultural and political backgrounds:</span></span></b><span style="font-family: Georgia, serif; font-size: 13.5pt; line-height: 115%;"><o:p></o:p></span></div>
<div class="MsoNormal" style="margin-left: 14.2pt; text-indent: -14.2pt;">
<span style="color: white;"><span style="font-family: Georgia, serif; font-size: 9.5pt; line-height: 115%;">-To what extent did audiences’
expectations affect theatrical representations of the Other?</span><span style="font-family: Georgia, serif; font-size: 13.5pt; line-height: 115%;"><o:p></o:p></span></span></div>
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<span style="color: white;"><span style="font-family: Georgia, serif; font-size: 9.5pt; line-height: 115%;">-In
what ways do class, gender, race inform the acting and managing of ‘exotic’
pieces?</span><span style="font-family: Georgia, serif; font-size: 13.5pt; line-height: 115%;"><o:p></o:p></span></span></div>
<div class="MsoNormal" style="margin-left: 7.1pt; text-indent: -7.1pt;">
<span style="color: white;"><span style="font-family: Georgia, serif; font-size: 9.5pt; line-height: 115%;">-To what extent did scientific and
anthropological accounts inform theatrical portraits of the Other? </span><span style="font-family: Georgia, serif; font-size: 13.5pt; line-height: 115%;"><o:p></o:p></span></span></div>
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<span style="color: white;"><span style="font-family: Georgia, serif; font-size: 9.5pt; line-height: 115%;">-Were
illustrations of (European and/or) non-European countries informed by theatre?</span><span style="font-family: Georgia, serif; font-size: 13.5pt; line-height: 115%;"><o:p></o:p></span></span></div>
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<span style="color: white;"><span style="font-family: Georgia, serif; font-size: 9.5pt; line-height: 115%;">-In
what ways have political narratives influenced (or been influenced by) the
‘exotic’ on stage?</span><span style="font-family: Georgia, serif; font-size: 13.5pt; line-height: 115%;"><o:p></o:p></span></span></div>
<div class="MsoNormal" style="margin-left: 14.2pt; text-indent: -14.2pt;">
<span style="color: white;"><span style="font-family: Georgia, serif; font-size: 9.5pt; line-height: 115%;">-Has the legal frame for the theatre
influenced the staging of the Other?</span><span style="font-family: Georgia, serif; font-size: 13.5pt; line-height: 115%;"><o:p></o:p></span></span></div>
<div class="MsoNormal" style="margin-left: 14.2pt; text-indent: -14.2pt;">
<span style="font-family: Georgia, serif; font-size: 9.5pt; line-height: 115%;"><span style="color: white;">-Visual points of contact between
popular entertainment and theatrical representations of the Other</span></span><span style="font-family: Georgia, serif; font-size: 13.5pt; line-height: 115%;"><o:p></o:p></span></div>
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<br /></div>
<div class="MsoNormal">
<span style="color: #6fa8dc;"><b><span style="font-family: Georgia, serif; font-size: 9.5pt; line-height: 115%;">The
travelling ‘exotic’</span></b><span style="font-family: Georgia, serif; font-size: 9.5pt; line-height: 115%;">:
</span></span><span style="font-family: Georgia, serif; font-size: 13.5pt; line-height: 115%;"><o:p></o:p></span></div>
<div class="MsoNormal" style="margin-left: 7.1pt; text-indent: -7.1pt;">
<span style="color: white;"><span style="font-family: Georgia, serif; font-size: 9.5pt; line-height: 115%;">-How do texts such as <i>Arabian Nights</i>,
<i>Uncle Tom’s Cabin</i>, or <i>Mazeppa </i>‘travel’ between dramatic and
non-dramatic genres?</span><span style="font-family: Georgia, serif; font-size: 13.5pt; line-height: 115%;"><o:p></o:p></span></span></div>
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<span style="color: white;"><span style="font-family: Georgia, serif; font-size: 9.5pt; line-height: 115%;">-Survival
of a Romantic ‘exotic’ in the Victorian staging of the Other;</span><span style="font-family: Georgia, serif; font-size: 13.5pt; line-height: 115%;"><o:p></o:p></span></span></div>
<div class="MsoNormal">
<span style="color: white;"><span style="font-family: Georgia, serif; font-size: 9.5pt; line-height: 115%;">-Is
<i>Othello </i>on the Romantic and Victorian stage ‘exotic’?</span><span style="font-family: Georgia, serif; font-size: 13.5pt; line-height: 115%;"><o:p></o:p></span></span></div>
<div class="MsoNormal" style="margin-left: 7.1pt; text-indent: -7.1pt;">
<span style="color: white;"><span style="font-family: Georgia, serif; font-size: 9.5pt; line-height: 115%;">-How do translations/adaptations from
other languages contribute to the construction of the Other on the British
stage? Can we define a British specificity when it comes to the ‘exotic’?</span><span style="font-family: Georgia, serif; font-size: 13.5pt; line-height: 115%;"><o:p></o:p></span></span></div>
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<span style="font-family: Georgia, serif; font-size: 9.5pt; line-height: 115%;"><span style="color: white;">-Has
the theatrical representation of the ‘exotic’ in Britain had an impact on
non-British stages? </span></span><span style="font-family: Georgia, serif; font-size: 13.5pt; line-height: 115%;"><o:p></o:p></span></div>
<div class="MsoNormal">
<br /></div>
<div class="MsoNormal">
<span style="color: #6fa8dc;"><b><span style="font-family: Georgia, serif; font-size: 9.5pt; line-height: 115%;">The
legacy of 19</span></b><b><sup><span style="font-family: Georgia, serif; font-size: 6pt; line-height: 115%;">th</span></sup></b><b><span style="font-family: Georgia, serif; font-size: 9.5pt; line-height: 115%;">-century ‘exotic’ body:</span></b></span><span style="font-family: Georgia, serif; font-size: 9.5pt; line-height: 115%;"> </span><span style="font-family: Georgia, serif; font-size: 13.5pt; line-height: 115%;"><o:p></o:p></span></div>
<div class="MsoNormal" style="text-indent: -21.8pt;">
<span style="color: white;"><span style="font-family: Georgia, serif; font-size: 9.5pt; line-height: 115%;">
-Contemporary plays/performances addressing the Other on the 19</span><sup><span style="font-family: Georgia, serif; font-size: 6pt; line-height: 115%;">th</span></sup><span style="font-family: Georgia, serif; font-size: 9.5pt; line-height: 115%;">-century British stage (e.g. Lolita <o:p></o:p></span></span></div>
<div class="MsoNormal" style="text-indent: -21.8pt;">
<span style="color: white;"><span style="font-family: Georgia, serif; font-size: 9.5pt; line-height: 115%;"> Chakrabarti’s <i>Red Velvet</i>)</span><span style="font-family: Georgia, serif; font-size: 13.5pt; line-height: 115%;"><o:p></o:p></span></span></div>
<div class="MsoNormal" style="margin-left: 36pt; text-indent: -36pt;">
<span style="color: white;"><span style="font-family: Georgia, serif; font-size: 9.5pt; line-height: 115%;">-The ‘exotic’ body on the British stage
in a diachronic perspective</span><span style="font-family: Georgia, serif; font-size: 13.5pt; line-height: 115%;"><o:p></o:p></span></span></div>
<div class="MsoNormal" style="margin-left: 36pt; text-indent: -36pt;">
<span style="color: white;"><span style="font-family: Georgia, serif; font-size: 9.5pt; line-height: 115%;">-The non-European Other in the 20</span><sup><span style="font-family: Georgia, serif; font-size: 6pt; line-height: 115%;">th</span></sup><span style="font-family: Georgia, serif; font-size: 9.5pt; line-height: 115%;">- and 21</span><sup><span style="font-family: Georgia, serif; font-size: 6pt; line-height: 115%;">st</span></sup><span style="font-family: Georgia, serif; font-size: 9.5pt; line-height: 115%;">-century Christmas pantomime</span></span><span style="font-family: Georgia, serif; font-size: 13.5pt; line-height: 115%;"><o:p></o:p></span></div>
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<div class="MsoNormal" style="text-align: left;">
<span style="font-family: Georgia, serif; font-size: 12pt; line-height: 115%;"><span style="color: white;">Abstracts
of <b><u>no more than 300 words</u></b> and
a <b><u>short bio</u></b> should be sent to
</span><span style="color: cyan;"><b><u><a href="mailto:rebedconference@gmail.com">rebedconference@gmail.com</a></u></b>
</span><span style="color: white;">by <b><u>25 May 2014</u></b>. </span></span></div>
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<span style="font-family: Georgia, serif; font-size: 12pt; line-height: 115%;"><span style="color: white;"><br /></span></span></div>
<div class="MsoNormal" style="text-align: left;">
<span style="font-family: Georgia, serif; font-size: 12pt; line-height: 115%;"><span style="color: white;">Speakers
whose abstracts have been accepted will be notified by 15 June. <o:p></o:p></span></span></div>
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</div>
<div>
<span><span style="font-size: 16px; vertical-align: baseline; white-space: pre-wrap;"></span></span></div>
Anonymoushttp://www.blogger.com/profile/07958145658444598131noreply@blogger.com0tag:blogger.com,1999:blog-5982048100893250619.post-13467866007819558572014-03-08T17:55:00.000+00:002014-03-08T17:55:16.610+00:00Week 8 (Monday) – America through a British Lens: William England's Stereoscopic Tour<div style="text-align: center;">
<span style="font-family: Times, Times New Roman, serif; font-size: x-large;">Professor Bruce Graver, Providence College</span></div>
<div style="text-align: center;">
<span style="font-family: Times, Times New Roman, serif; font-size: x-large;"><br /></span></div>
<div style="text-align: left;">
<span style="font-family: Times, Times New Roman, serif; font-size: x-large;">* Note: this week's seminar is on Monday instead of the usual Thursday. Same time, same place (Seminar Room A).</span></div>
<div style="text-align: left;">
<span style="font-size: large;"><br /></span></div>
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiDLF07ukJWMfp_wXdGj2QEr5nJ225Yl09nYHBh2sJpQW5IF56VxzVUNHJ9MILrc23FQiDUQ2L559zD4D_WaTYBvYTk9-PJXTzVCjDjq6LDipanrXLGK64PgdOurTE55xBaead0zNc0tqc/s1600/m198420310006.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiDLF07ukJWMfp_wXdGj2QEr5nJ225Yl09nYHBh2sJpQW5IF56VxzVUNHJ9MILrc23FQiDUQ2L559zD4D_WaTYBvYTk9-PJXTzVCjDjq6LDipanrXLGK64PgdOurTE55xBaead0zNc0tqc/s1600/m198420310006.jpg" height="186" width="400" /></a></div>
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<div class="separator" style="clear: both; text-align: justify;">
<span style="font-family: Times, Times New Roman, serif; font-size: large;">For the final Romantic Realignments of Hilary term, our speaker will be Bruce Graver, with a talk on the early photographer William England's foray into North America which should appeal to those interested in landscape, travel writing, Anglo-American relations . . . the points of connection are endless! All welcome, come along and help us send off the term in style.</span></div>
Anonymoushttp://www.blogger.com/profile/04246740966042458681noreply@blogger.com0tag:blogger.com,1999:blog-5982048100893250619.post-64611407935349311162014-03-06T13:34:00.000+00:002014-03-06T16:08:09.853+00:00Week 7 - "Creative Tension: The post-Frankenstein collaboration of Percy Bysshe Shelley and Mary Wollstonecraft Shelley"<div style="text-align: center;">
<b style="color: #3d85c6; font-family: Georgia, 'Times New Roman', serif; font-size: xx-large;">Anna Mercer</b><br />
<b style="color: #3d85c6; font-family: Georgia, 'Times New Roman', serif; font-size: xx-large;">(University of York)</b></div>
<span style="color: #3d85c6; font-family: Georgia, Times New Roman, serif; font-size: x-large;">
</span><br />
<div class="separator" style="clear: both; text-align: center;">
<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjzuiL2wXU3bXqDM13d57K3yEKJSKeuFcRl1joDBHZHw9JSyZYU-7XKdWXAPmbz6PU4gTaVWcheXvUojLR3JwVB0l2KRUl04aJZKgGjul9N4ck9ayEIT7ukXdeZrRI96oAS-f-2a9GVOsg/s1600/shelleyz.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjzuiL2wXU3bXqDM13d57K3yEKJSKeuFcRl1joDBHZHw9JSyZYU-7XKdWXAPmbz6PU4gTaVWcheXvUojLR3JwVB0l2KRUl04aJZKgGjul9N4ck9ayEIT7ukXdeZrRI96oAS-f-2a9GVOsg/s1600/shelleyz.jpg" height="282" width="400" /></a></div>
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<div style="text-align: justify;">
<span style="color: #3d85c6; font-family: Georgia, 'Times New Roman', serif; font-size: large;">This week*, we're delighted to be welcoming Anna Mercer - a first-year doctoral candidate from the University of York - to speak to us about the creative collaboration of Percy Bysshe </span><span style="color: #3d85c6; font-family: Georgia, 'Times New Roman', serif; font-size: large;">Shelley and Mary Wollstonecraft Shelley.</span></div>
<div>
<div style="text-align: justify;">
<span style="font-family: Georgia, 'Times New Roman', serif; font-size: large; text-decoration: underline;"><span style="color: #3d85c6;"><br /></span></span></div>
<span style="color: #3d85c6; font-family: Georgia, Times New Roman, serif; font-size: large;"></span><br />
<div style="text-align: justify;">
<span style="color: #3d85c6; font-family: Georgia, Times New Roman, serif; font-size: large;"><b><u>Abstract</u></b></span></div>
<span style="color: #3d85c6; font-family: Georgia, Times New Roman, serif; font-size: large;">
</span>
<div style="text-align: justify;">
<span style="color: #3d85c6; font-family: Georgia, Times New Roman, serif; font-size: large;"><br /></span></div>
<span style="color: #3d85c6; font-family: Georgia, Times New Roman, serif; font-size: large;">
</span><br />
<div style="text-align: justify;">
<span style="color: #3d85c6; font-family: Georgia, Times New Roman, serif; font-size: large;">Percy Bysshe Shelley (PBS) and Mary Wollstonecraft Shelley (MWS) collaborated on the latter’s first major work, Frankenstein. 1816-1818 was a period of shared productivity for the Shelleys; as well as Frankenstein, they also produced a joint publication, History of a Six Weeks’ Tour. Beyond this, however, the Shelleys’ literary relationship and dialogue is little considered by critics, their connection reduced to a source for biographical interpretations of their distinctly separate or individual writings. </span></div>
<span style="color: #3d85c6; font-family: Georgia, Times New Roman, serif; font-size: large;"></span><br />
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<span style="color: #3d85c6; font-family: Georgia, Times New Roman, serif; font-size: large;"><br /></span></div>
<span style="color: #3d85c6; font-family: Georgia, Times New Roman, serif; font-size: large;">
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<span style="color: #3d85c6; font-family: Georgia, Times New Roman, serif; font-size: large;">My research aims to study the Shelleys’ relationship in a literary sense, considering the connections between their texts, their intellectual responses to each other, and the reciprocal interchange of ideas between a literary couple that were reading and writing together from 1814-1822. This paper explores an approach to the Shelleys’ compositions post-Frankenstein, including MWS’s second novel, Matilda, and its connections to PBS’s verse-drama The Cenci. MWS comments on her involvement with PBS’s composition of The Cenci in 1819: ‘We talked over the arrangements of the scenes together’. I also look at the way in which further collaborations by both Shelleys on one text (The Mask of Anarchy) can be deduced from manuscript evidence. 1819-1820 (the period during which these works were written) was a time of emotional strain and estrangement in the Shelleys’ marriage, but it is evident in their works that their intellectual engagement survived, and profoundly influenced their writings.</span></div>
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Please join us for another exciting and original talk - all are, as ever, most welcome at both the seminar and the wine reception. We hope to see you then!</div>
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<i>*Please note that the seminar this week will be held in <b>Seminar Room B </b>- just next door to our usual venue, Seminar Room A.</i></div>
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Anonymoushttp://www.blogger.com/profile/07958145658444598131noreply@blogger.com0tag:blogger.com,1999:blog-5982048100893250619.post-58485101619335968472014-03-02T23:30:00.000+00:002014-03-02T23:39:31.880+00:00Upcoming Event: Coastal Cultures of the Long Nineteenth Century<div style="margin-bottom: 9pt;">
<b><span 18pt="" font-size:="" garamond="" style="font-family: Times, Times New Roman, serif; font-size: large;">Reminder: </span></b></div>
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<b><span style="font-family: Times, Times New Roman, serif; font-size: large;">Full registration (for the conference with dinner) will be closing Monday 3 March. Act now to avoid disappointment!</span></b></div>
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<b><span 18pt="" font-size:="" garamond="" style="font-family: Times, Times New Roman, serif; font-size: large;">Coastal Cultures of the Long Nineteenth Century, 1775–1914</span></b></div>
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<b><span style="font-family: Garamond; font-size: 13pt;">Dates: </span></b><span style="font-family: Garamond; font-size: 13pt;">14 and 15 March 2014</span></div>
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<b><span style="font-family: Garamond; font-size: 13pt;">Venue: </span></b><span style="font-family: Garamond; font-size: 13pt;">English Faculty and Magdalen College</span></div>
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<b><span style="font-family: Garamond; font-size: 13pt;">Description:</span></b><span style="font-family: Garamond; font-size: 13pt;"> The conference explores the diversity of experiences dependent on the coasts in the long nineteenth century. Papers will consider aesthetic responses by artists, writers and musicians, but also focus on everyday material practices. In keeping with the spirit of fluid exchange encouraged by coasts, the conference draws together scholars from across the disciplines of literature, art history, musicology, history, and geography.</span></div>
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<b><span style="font-family: Garamond; font-size: 13pt;">Speakers include</span></b><span style="font-family: Garamond; font-size: 13pt;"> Rosemary Ashton, Margaret Cohen, Valentine Cunningham, Jane Darcy, Roger Ebbatson, Kate Flint, Nick Freeman, Nick Grindle, James Kneale, Leya Landau, Fiona Stafford, Christiana Payne, David Sergeant and Carl Thompson.</span></div>
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<b><span style="font-family: Garamond; font-size: 13pt;">A recital </span></b><span style="font-family: Garamond; font-size: 13pt;">will take place in association with the conference, with singers from the Guildhall School for Music performing works by Elgar, Stanford and Vaughan Williams, introduced by musicologist and concert pianist Ceri Owen.</span></div>
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<b><span style="font-family: Garamond; font-size: 13pt;">The conference programme can be <a href="http://www.english.ox.ac.uk/sites/default/files/Coastal%20Cultures%20PROGRAMME.pdf" target="_blank"><span style="text-decoration: none;">downloaded here</span><span style="font-weight: normal; text-decoration: none;">.</span></a></span></b><span style="font-family: Garamond; font-size: 13pt;"></span></div>
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<b><span style="font-family: Garamond; font-size: 13pt;">Registration is now open! <a href="http://www.oxforduniversitystores.co.uk/browse/extra_info.asp?compid=1&modid=1&deptid=110&catid=2024&prodvarid=714" target="_blank"><span style="text-decoration: none;">To register, please go to </span></a><a href="http://www.english.ox.ac.uk/our-research/coastal-cultures-long-nineteenth-century-1775%E2%80%931914" target="_blank"><span style="font-weight: normal;">http://www.english.ox.ac.<wbr></wbr>uk/our-research/coastal-<wbr></wbr>cultures-long-nineteenth-<wbr></wbr>century-1775–1914</span></a><a href="http://www.oxforduniversitystores.co.uk/browse/extra_info.asp?compid=1&modid=1&deptid=110&catid=2024&prodvarid=714" target="_blank"><span style="text-decoration: none;">.</span></a></span></b><span style="font-family: Garamond; font-size: 13pt;"></span></div>
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<b><span 13pt="" font-size:="" garamond="">Contact: <a href="mailto:coastal.cultures@gmail.com" target="_blank"><span style="text-decoration: none;">coastal.cultures@<wbr></wbr>gmail.com</span></a></span></b></div>
Anonymoushttp://www.blogger.com/profile/04246740966042458681noreply@blogger.com0tag:blogger.com,1999:blog-5982048100893250619.post-40578529115806426472014-02-26T21:41:00.000+00:002014-02-26T21:41:26.657+00:00Week 6 – 'De-frosting the Discourse on the Subject: S. T. Coleridge'<div style="text-align: center;">
<span style="font-family: Times, Times New Roman, serif; font-size: x-large;">Professor Christoph Bode, </span></div>
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<span style="font-family: Times, Times New Roman, serif; font-size: x-large;">Ludwig-Maximilians-Universität München</span></div>
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<span style="font-family: Times, Times New Roman, serif; font-size: large;">This week we're very happy to be welcoming Professor Christoph Bode back to Oxford, where he will soon be taking up a visiting fellowship at St Catherine's College. He will be speaking about 'De-frosting the Discourse on the Subject', unsubtly represented here by this extremely on-the-nose image of frost and midnight . . . All welcome as ever!</span></div>
Anonymoushttp://www.blogger.com/profile/04246740966042458681noreply@blogger.com0tag:blogger.com,1999:blog-5982048100893250619.post-88551774585883236312014-02-21T22:23:00.000+00:002014-02-21T22:23:26.614+00:00For interest of Romanticists - Oxford Garden and Landscape History Seminar<div style="text-align: justify;">
<span style="color: #3d85c6; font-family: Georgia, 'Times New Roman', serif; font-size: large;">A new forum has been created at Oxford to facilitate the discussion of ideas surrounding notions of space, garden and landscape. More information is available here: </span></div>
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<b><a href="http://www.torch.ox.ac.uk/oxfordgardenandlandscapehistory">http://www.torch.ox.ac.uk/oxfordgardenandlandscapehistory </a></b></div>
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The next Oxford Garden and Landscape History Seminar will be held on <b>Saturday 8th March</b> from <b>10:15am to 4:00pm</b> at the <span style="line-height: 21px;"><b>Maison Française d'Oxford (2-10 Norham Road)</b></span>; for further details, please see below. </div>
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This is a fantastic opportunity for interdisciplinary discussion, so do come along if you're able to!</div>
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To register interest, or for more information, please contact Laurent Châtel at: <b>laurent.chatel@ell.ox.ac.uk</b></div>
</span>Anonymoushttp://www.blogger.com/profile/07958145658444598131noreply@blogger.com0tag:blogger.com,1999:blog-5982048100893250619.post-3004326545251293282014-02-17T16:23:00.001+00:002014-02-21T15:37:04.601+00:00Week 5 - "Future Romanticisms"<div style="text-align: center;">
<span style="color: #3d85c6; font-family: Georgia, Times New Roman, serif; font-size: x-large;">Professor Edward Larrissy </span></div>
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<span style="color: #3d85c6; font-family: Georgia, Times New Roman, serif; font-size: large;">We're very excited to be welcoming Professor Edward Larrissy to Romantic Realignments this week. On Thursday, he'll be speaking to us about the notion of "Future Romanticisms" - our second paper this term stemming from the current <i>Counterfactual Romanticisms </i>project, as introduced to us by Professor Damian Walford Davies in Week 0:</span></div>
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<span style="color: #3d85c6; font-family: Georgia, Times New Roman, serif;">This paper proposes to
predict the way in which Romanticism will tend to be taught and anthologised
some fifteen years hence. The assumptions behind the predictions are best fully
avowed in advance, since they need to be supported in tandem with the
presentation of the future canon. As it happens, they are straightforward and
plausible. It would almost be sufficient to say that they could be reduced to
one single assumption: namely, that the kinds of politically liberal interest
that have been driving the revision of the reading list over the past quarter
of a century still have the scope, within their own terms, to effect further
revision and re-shaping of canon and curriculum. Still, not every change of emphasis
I shall propose can be easily derived from that single assumption, so
‘assumptions’ in the plural is probably the fairer term. <o:p></o:p></span></div>
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<span style="color: #3d85c6; font-family: Georgia, Times New Roman, serif;"> To develop the point, then. It is
plausible that ‘British Romanticism’ will be conceived in even more markedly
archipelagic terms than it is today: writing from all of the ‘four nations’
(very much including Ireland) will be regularly represented. The emphasis on
women’s writing will be maintained and furthered. Working class writing will
figure in the list. Writing about the colonial world (chiefly India) will always
be present – and (a relative newcomer) – so will writing about America,
reflecting the continued strength of humanities departments in American
universities, and their interests. The strong presence of Gothic tropes and
imagery in contemporary popular – and indeed ‘high’ – culture will support not
only the regular appearance of ‘the Gothic’ in the study of Romanticism, but a
regular emphasis on such tropes and imagery among authors by no means<a href="https://www.blogger.com/blogger.g?blogID=5982048100893250619" name="_GoBack"></a> solely associated with it (Blake, Wordsworth, Percy
Shelley). The growing dominance of science in the academy, as well as a
continued promotion of interdisciplinarity in all subject-areas, will lead to
the taken-for-granted presence of texts under the heading of ‘Literature and
Science’ (e.g., Humphry Davy). More generally, there will be some attempt to
maintain the new historicist aim of representing the self-understanding of the
period by including texts that were famous in their own day but have until recently
been neglected. <o:p></o:p></span></div>
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<span style="color: #3d85c6; font-family: Georgia, Times New Roman, serif;"> Some obvious results flow from these
assumptions: works by Burns, Moore, Scott and Hemans will always be visible, as
will the poetry of Clare. So far, so relatively simple. But the pressure on
time and space in the curriculum will lead to an emphasis on texts where more
than one of the above themes can be exhibited. A few examples will have to
suffice at this stage. Thus, Thomas Moore will not only be reliably visible,
but he will normally be visible in the shape of <i>Lalla Rookh, </i>which allows the lecturer or anthologist to tick both
the ‘Irish’ and the ‘Indian’ boxes. Very similar considerations lead to the
inclusion of Sydney Owenson’s <i>The
Missionary</i>: this can figure in the category of women’s writing, but also in
those of Irish writing and writing about India.<i> </i> Southey’s <i>The Curse of Kehama </i>will be studied.
Examples of writing about America are not that abundant, but Thomas Campbell’s <i>Gertrude of Wyoming </i>will appear on most
reading lists – a poem that was very popular in the nineteenth century,
especially with American readers. Alongside this, the lecturer may be persuaded
to present some of Moore’s writings deriving from his American journey. While
many of these texts are already receiving some attention again, my point is
that in the middle term they will become as close to ‘canonical’ as an
anti-canonical inclination will be able to endure. <o:p></o:p></span></div>
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<span style="color: #3d85c6; font-family: Georgia, Times New Roman, serif;"> The last move in the paper will be
to return to the question of how the canon established from the late nineteenth
century onwards came to exist. It will be pointed out that its development was
closely linked to the preferences of writers (e.g., Yeats) as well as of
critics. The question will be asked, whether the academy is shifting its
attention away from the kind of writing that might still be an influence on
current writers – or whether such a suggestion itself reveals a prejudice about
how writing should currently look and behave. This last section will reference McGann,
among others.</span><o:p></o:p></div>
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<span style="color: #3d85c6; font-family: Georgia, Times New Roman, serif; font-size: large;">Do come along for what looks set to be a fascinating paper and a stimulating discussion - all are welcome to attend the seminar, as ever. We look forward to seeing you on Thursday!</span></div>
Anonymoushttp://www.blogger.com/profile/07958145658444598131noreply@blogger.com0tag:blogger.com,1999:blog-5982048100893250619.post-13572170142104968382014-02-13T13:34:00.001+00:002014-02-13T13:35:02.739+00:00Week 4 – 'Hume, Shelley and the Evolution of Myth'<div style="text-align: center;">
<span style="font-family: Times, 'Times New Roman', serif; font-size: x-large;">Pablo San Martín Varela, University of Edinburgh</span></div>
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<span style="font-family: Times, Times New Roman, serif; font-size: large;">This week sees the second part of our Edinburgh double-header, as Pablo San Martín speaks on the shift from an Enlightenment to a Romantic definition of 'myth'.</span></div>
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<span style="font-family: Times, Times New Roman, serif; font-size: large;">This paper explores the history of the modern conception of
‘myth’ as it emerged during the Enlightenment, and how it<span style="mso-spacerun: yes;"> </span>was then reshaped during the Romantic
period, centring on the works of David Hume and Percy Shelley. In <i>An Enquiry
Concerning Human Understanding</i> and <i>The</i> <i>Natural History of
Religion </i>Hume developed the basic enlightened conception of myth as
‘fable,’ ‘invention,’ ‘fiction,’ or ‘illusion’, which according to the
philosopher of religion Mircea Eliade later prevailed during the nineteenth
century and is still present today’s use of the word ‘myth’. In the
aforementioned works, Hume assessed myths in terms of an empiricist criterion
of truth, and regarded them as corrupted historical records which had lost all
relation to the original facts they were supposed to refer to. Shelley inherits
this enlightened conception of myth from Hume, and deploys it in his early
critique of religion (letters, prose and poems), levelling the narrations
contained in the Bible with pagan mythology. In his later poetical practice,
however, (especially in <i>Prometheus Unboud</i> and <i>Hellas</i>, and their
prefaces) Shelley advanced a different and more positive conception of myth
(which we could call ‘Romantic’) as<span style="mso-spacerun: yes;">
</span>‘true story’, ‘sacred tradition’, ‘primordial revelation’, and
‘exemplary model’, together with a more idealistic criterion of truth.</span><br />
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<span style="font-family: Times, Times New Roman, serif; font-size: large;">All welcome as always!</span></div>
Anonymoushttp://www.blogger.com/profile/04246740966042458681noreply@blogger.com0tag:blogger.com,1999:blog-5982048100893250619.post-38340413485533884292014-02-05T22:18:00.000+00:002014-02-05T22:18:58.199+00:00Week 3 – 'The Antiquarian Collections and Fictions of Horace Walpole and Walter Scott'<div style="text-align: center;">
<span style="font-family: Times, Times New Roman, serif; font-size: x-large;">Lucy Linforth, University of Edinburgh</span></div>
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<span style="font-family: Times, Times New Roman, serif; font-size: large;">We're very happy to have Lucy Linforth with us this week, all the way from Edinburgh! She's going to be speaking about antiquarian objects and the important role they play in the writings of Scott and Walpole.</span></div>
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<u><span style="font-family: Times, Times New Roman, serif; font-size: large;">Abstract</span></u></div>
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<span style="line-height: 150%;"><span style="font-family: Times, Times New Roman, serif; font-size: large;">This paper explores the antiquarian
collections held by Walpole and Scott at Strawberry Hill and Abbotsford House
respectively, examining their historical and material significance upon the
works of both authors. My paper will explore how the object <i style="mso-bidi-font-style: normal;">of </i>and objects <i style="mso-bidi-font-style: normal;">in</i> these collections might find resonance and representation within
the pages of Walpole and Scott’s fictional works.</span></span></div>
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<span style="line-height: 150%;"><span style="font-family: Times, Times New Roman, serif; font-size: large;"> In my discussion of Walpole, I will follow
the recent example of scholar James Lilley, who has suggested that the
collection at Strawberry Hill offers an insight into Walpole’s philosophy of both
antiquarianism (‘uniquity’), and of the eighteenth-century narrative of history.
Furthermore, I would also suggest that the significance of the antiquarian
object in Walpole’s novel <i>The Castle of
Otranto</i> (1764) has hitherto been underestimated, and therefore I begin to
explore this importance in my paper. Turning to Scott’s fiction, I would
suggest that several of his fictional works spring directly from items he
collected and displayed at Abbotsford; I hope to demonstrate this using
examples from the Abbotsford collection. I will also suggest that Scott too,
like Walpole before him, laid great significance upon the presence of the antiquarian
object in his fictions, which even acts occasionally as narrative agent. </span><span style="font-family: Times New Roman; font-size: 12pt;"><o:p></o:p></span></span></div>
Anonymoushttp://www.blogger.com/profile/04246740966042458681noreply@blogger.com0tag:blogger.com,1999:blog-5982048100893250619.post-12285312832686405572014-01-27T14:08:00.000+00:002014-02-26T15:08:55.841+00:00Week 2 - "Metaphysics as Aesthetics: On Nietzsche’s Critique of Kant’s Teleology"<h2 style="text-align: center;">
<span style="font-family: 'Times New Roman', serif; line-height: 115%;"><b><span style="color: #d9d2e9; font-size: x-large;">Nicolas Lema (Somerville College, University of Oxford)</span></b></span></h2>
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<span style="color: #d9d2e9; font-size: large;">This week, we're delighted to be welcoming Nicolas Lema from the University's Faculty of Philosophy; he'll be speaking to us about Nietzsche's response to Kant's notion of teleology:</span></div>
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<span style="color: #d9d2e9; font-size: large;"><b><u>Abstract</u></b></span></div>
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In 1868, Nietzsche planned to write a dissertation on Kant’s Critique of Judgment (1790) specifically focusing on Kant’s concept of teleology. Nietzsche, however, abandoned the project and left us with a set of notes entitled “On Teleology.” These complex series of notes reinterpret and radicalize some of Kant’s most cherished concepts used in the Third Critique to study both art and biology. Here I will focus on Nietzsche’s critique and radicalization of Kant’s notions of regulative principle and reflective judgment. For Kant, reflective principles of judgment guide our cognition about particulars in nature in the form of a subjective rule; not as an ontological claim about nature. For scientific purposes, however, a principle of natural teleology—a principle that claims things in nature happen for the sake of something—must be presupposed in order to guide research. This principle acts as a ‘regulative maxim’ that guides experience. I will argue that Nietzsche’s notes point to the essential ‘aesthetic’ content, not only of regulative principles, but also of the whole realm of metaphysics. Teleology becomes nothing but an “aesthetic product,” as Nietzsche puts it. This will lead Nietzsche to an implicit critique of Kant’s harmonic view of reason as architecture.</div>
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As ever, all are most welcome to attend both the seminar and the wine reception - we look forward to seeing you then!</div>
</span>Anonymoushttp://www.blogger.com/profile/07958145658444598131noreply@blogger.com0tag:blogger.com,1999:blog-5982048100893250619.post-7818438873888693772014-01-21T22:37:00.000+00:002014-01-21T22:38:27.402+00:00Week 1 – 'Wordsworth After Bathos'<div style="text-align: center;">
<span style="color: #e69138; font-family: Times, Times New Roman, serif; font-size: x-large;">Robert Stagg, University of Southampton</span></div>
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<span style="font-size: large;"><span style="font-family: Times, Times New Roman, serif;">Our speaker for this first Romantic Realignments of Hilary Term proper is Robert Stagg, who will respond to the characterisation of Wordsworth as 'a writer of "good Bad Verse" (Wyndham Lewis)' with a paper that aims to '</span><span style="font-family: Times, Times New Roman, serif; line-height: normal;">defend Wordsworth’s bathos':</span></span></div>
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<span style="font-family: Times, Times New Roman, serif; font-size: large;">This defence cleaves
into two categories, even as those two categories ultimately cleave to each
other – noticing 1) the ability of bathos to clear false wonder from verse,
mocking and twitting it, before revealing a true wonder; and 2) the way in
which bathos can hold a latent energy of wonder, so that Wordsworth can extract
a “hyperclimax” (in Coleridge’s terminology) from an anti-climax. My paper will
begin by considering the nature of bathos, with brief examples from Pope,
Byron, Clough and others before turning to the specifically Wordsworthian
bathos outlined in points 1) and 2) above. I will examine Wordsworth’s
paratextual writings about bathos, in the ‘Preface’ to the <i>Lyrical Ballads</i> and the notes to some of the poems, while turning
to the poems themselves. I will consider some of Wordsworth’s late poetry and
the Alps episode in Book 6 of <i>The Prelude</i>
as examples of bathos 1) before turning to ‘Simon Lee’ as an example of bathos
2). My paper will
conclude by examining the role of bathos in the relationship between Wordsworth
and Coleridge. I read ‘The Thorn’ as a bathetic collapsing of <i>The Ancient Mariner.</i> I then think about ‘The Idiot Boy’ as a sequel to ‘The
Thorn’, for which there is much manuscript evidence, in which ‘The Idiot Boy’
becomes the wondrous poem sprung from its bathetic predecessor. “Exalted by an
underpresence” (<i>The 1805 Prelude</i>,
13.71), Wordsworth’s poetry finds wonder in slumps, stumbles, shrinkages, even
snails. It is a wonder emitted not through a Coleridgean (as Wordsworth sees
it) solemnity but through the comic manoeuvres of bathos – something my paper
will explore, chart and advocate.</span></div>
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<span style="font-family: Times, Times New Roman, serif; font-size: large;">As always, all are welcome at our usual time of 5.15!</span></div>
Anonymoushttp://www.blogger.com/profile/04246740966042458681noreply@blogger.com0tag:blogger.com,1999:blog-5982048100893250619.post-88264884336789634012014-01-14T11:10:00.000+00:002014-01-14T11:16:43.384+00:00Week 0 - "Counterfactual Romanticism"<div style="text-align: center;">
<span style="color: #3d85c6; font-family: Georgia, 'Times New Roman', serif; font-size: x-large;"><b>Professor Damian Walford Davies</b></span><br />
<span style="color: #3d85c6; font-family: Georgia, 'Times New Roman', serif; font-size: x-large;"><b> (Cardiff University)</b></span></div>
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<span style="color: #6fa8dc; font-family: Georgia, Times New Roman, serif; font-size: large;">A very Happy New Year to all! As a special Week 0 seminar* to kick off our 2014 programme, we're very pleased to be welcoming Professor Damian Walford Davies, who will be speaking on notions of "Counterfactual Romanticism" in relation to one of his current projects:</span></div>
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<span style="color: #6fa8dc; font-family: Georgia, Times New Roman, serif; font-size: large;"><br /></span></div>
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<span style="color: #6fa8dc; font-family: Georgia, Times New Roman, serif; font-size: large;"><u><b>Abstract</b></u></span></div>
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<span style="color: #6fa8dc; font-family: Georgia, Times New Roman, serif; font-size: large;"><br /></span></div>
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<span style="color: #6fa8dc; font-family: Georgia, Times New Roman, serif; font-size: large;">Historicism (of various modalities) remains the critical and methodological orthodoxy in Romantic Studies. It’s had a good innings. Dare we imagine ways beyond it and cultivate more radical rhetorical moves in our attempts to get away from, and then back into, the literary text’s various ‘histories’ (and the ‘histories’ of our own criticism)? How might a counterfactual move refocus the ways we configure the literary ‘past’? This paper, which offers an account of the genesis, current contours and potential afterlives of the project Counterfactual Romanticism, tendentiously opens a window on how things might be – for ourselves as critical latecomers and for the Romantics, too – ‘otherwise’.</span></div>
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<span style="color: #6fa8dc; font-family: Georgia, Times New Roman, serif; font-size: large;">Join us for what promises to be a compelling talk to see in the new term - all are welcome to attend as ever, and we hope to see you on Thursday! </span><br />
<span style="color: #6fa8dc; font-family: Georgia, Times New Roman, serif; font-size: large;"><br /></span>
<span style="color: #6fa8dc; font-family: Georgia, Times New Roman, serif; font-size: large;"><i>*Please note the slightly earlier time of <b>5:00pm </b>for this week's seminar.</i></span></div>
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Anonymoushttp://www.blogger.com/profile/07958145658444598131noreply@blogger.com0tag:blogger.com,1999:blog-5982048100893250619.post-20181384341348704612014-01-13T22:26:00.001+00:002014-01-14T10:11:55.744+00:00Hilary 2014 Termcard<div class="separator" style="clear: both; text-align: center;">
<span style="font-family: Times, 'Times New Roman', serif; font-size: x-large;">Romantic Realignments</span></div>
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<span style="font-family: Times, Times New Roman, serif; font-size: large;">Thursdays at 5.15, English Faculty Building, Seminar Room A.</span></div>
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<span style="font-family: Times, Times New Roman, serif; font-size: large;">* Extra seminar in Week 0 this term.</span></div>
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<b><span style="font-family: Times, Times New Roman, serif; font-size: large;">* Week 0, 16 Jan, 5pm
(note earlier time!):<o:p></o:p></span></b></div>
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<span style="font-family: Times, Times New Roman, serif; font-size: large;">Damian Walford Davies, Cardiff University</span></div>
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<span style="font-family: Times, Times New Roman, serif; font-size: large;">Counterfactual Romanticism</span></div>
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<b><span style="font-family: Times, Times New Roman, serif; font-size: large;">Week 1, 23 Jan:<o:p></o:p></span></b></div>
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<span style="font-family: Times, Times New Roman, serif; font-size: large;">Robert Stagg, University of Southampton</span></div>
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<span style="font-family: Times, Times New Roman, serif; font-size: large;">Wordsworth After Bathos</span></div>
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<b><span style="font-family: Times, Times New Roman, serif; font-size: large;">Week 2, 30 Jan:<o:p></o:p></span></b></div>
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<span style="font-family: Times, Times New Roman, serif; font-size: large;">Nicolas Lema Habash, Somerville College, Oxford</span></div>
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<span style="font-family: Times, Times New Roman, serif; font-size: large;">Metaphysics as Aesthetics: On Nietzsche’s Critique of Kant’s
Teleology</span></div>
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<b><span style="font-family: Times, Times New Roman, serif; font-size: large;">Week 3, 6 Feb:<o:p></o:p></span></b></div>
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<span style="font-family: Times, Times New Roman, serif; font-size: large;">Lucy Linforth, University of Edinburgh</span></div>
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<span style="font-family: Times, Times New Roman, serif; font-size: large;">The Antiquarian Collections and Fictions of Horace Walpole
and Walter Scott</span></div>
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<span style="font-family: Times, Times New Roman, serif; font-size: large;">Pablo San Martin Varela, University of Edinburgh</span></div>
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<span style="font-family: Times, Times New Roman, serif; font-size: large;">Hume, Shelley and the Evolution of Myth</span></div>
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<b><span style="font-family: Times, Times New Roman, serif; font-size: large;">Week 5, 20 Feb:<o:p></o:p></span></b></div>
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<span style="font-family: Times, Times New Roman, serif; font-size: large;">Edward Larrissy, Queen’s University Belfast</span></div>
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<span style="font-family: Times, Times New Roman, serif; font-size: large;">Future Romanticisms </span></div>
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<b><span style="font-family: Times, Times New Roman, serif; font-size: large;">Week 6, 27 Feb:<o:p></o:p></span></b></div>
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<span style="font-family: Times, Times New Roman, serif; font-size: large;">Christoph Bode, Ludwig-Maximilians-Universität München</span></div>
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<span style="font-family: Times, Times New Roman, serif; font-size: large;">De-frosting the Discourse on the Subject: S. T. Coleridge</span></div>
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<b><span style="font-family: Times, Times New Roman, serif; font-size: large;">Week 7, 6 March:<o:p></o:p></span></b></div>
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<span style="font-family: Times, Times New Roman, serif; font-size: large;">Anna Mercer, University of York</span></div>
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<span style="font-family: Times, Times New Roman, serif; font-size: large;">Creative Tension: how did Percy Bysshe Shelley and Mary
Wollstonecraft Shelley collaborate after Frankenstein?</span></div>
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<b><span style="font-family: Times, Times New Roman, serif; font-size: large;">* Week 8, 10 March
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<span style="font-family: Times, Times New Roman, serif; font-size: large;">Bruce Graver, Providence College</span></div>
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<span style="font-family: Times, Times New Roman, serif; font-size: large;">America through a British Lens: William England’s
Stereoscopic Tour</span></div>
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Anonymoushttp://www.blogger.com/profile/04246740966042458681noreply@blogger.com0tag:blogger.com,1999:blog-5982048100893250619.post-8471773916575708182013-12-03T22:05:00.000+00:002013-12-03T22:05:31.315+00:00Week 8 – 'Rationality, Religion and Female Dissent: Elizabeth Heyrick'<div style="text-align: justify;">
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<span style="color: #e69138; font-family: Times, Times New Roman, serif; font-size: x-large;">Rebecca Shuttleworth (University of Leicester)</span></div>
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgG-qOh_rbxuwZ28F4XlcnkevJOV2N8__mZbqboW9jd-19V5262eYbimeENHVkee42kw2YyStEGn057Mcu6ERxDktQKBzQfnyyUnU1ghXkhTayeE5P8yVzUVaqyJPi0w9WpIXUEgvoe_i4/s1600/HeyrickElizabeth176918313_360.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="320" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgG-qOh_rbxuwZ28F4XlcnkevJOV2N8__mZbqboW9jd-19V5262eYbimeENHVkee42kw2YyStEGn057Mcu6ERxDktQKBzQfnyyUnU1ghXkhTayeE5P8yVzUVaqyJPi0w9WpIXUEgvoe_i4/s320/HeyrickElizabeth176918313_360.jpg" width="320" /></a></div>
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<span style="font-family: Times, Times New Roman, serif; font-size: large;">For the final Romantic Realignments of 2013, we're very happy to have Rebecca Shuttleworth with us to share some of her research on dissenting women writers. </span></div>
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<span style="font-family: Times, Times New Roman, serif; font-size: large;"><u>Abstract</u></span></div>
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<span style="font-family: Times, 'Times New Roman', serif;"><span style="font-size: large;">The abolitionist campaigner Elizabeth Heyrick (1769-1831), was born into a dissenting family in Leicester, but asserted her independence later in life by leaving the Methodist Church to join the Society of Friends. Previous accounts of her life have often assumed that her social activism was very much a development of her new Quaker environment. This paper will suggest that the picture is more complicated than that, and will explore the complex interplay between the values of rationality, social morality, and religion in her life and writings. It will draw on family and friends’ writings about Heyrick, as well as her own numerous pamphlets, to explore the ways in which a radical female activist emerged from within a Midlands dissenting community. Heyrick’s voice, as it emerges in her writings, both works within, and against, the social expectations of her surrounding community and culture. In her appeals to rationality, rather than religion, in her justification of her various crusades, she emerges strongly as a voice of Enlightenment values. The paper will explore the dissenting community of Leicester at that period, the various role models available to Elizabeth, and the ways in which she constructed her own voice. It will consider her abolitionist writings, as well as her associated campaigns against animal cruelty, and her call for a total boycott of sugar and all products produced by slave labour. Heyrick’s understanding of social responsibility and moral identity remain remarkably consistent through her life, and must be understood not just in terms of her religion, but the wider Enlightenment commitment to the values of rationality.</span></span></div>
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<span style="font-family: Times, 'Times New Roman', serif;"><span style="font-size: large;">All are welcome – please come along and help us round off Michaelmas term in style!</span></span></div>
Anonymoushttp://www.blogger.com/profile/04246740966042458681noreply@blogger.com0tag:blogger.com,1999:blog-5982048100893250619.post-60328717184591398252013-11-25T15:35:00.000+00:002013-11-25T16:07:29.333+00:00Week 7 - "The Significance of James Macpherson's Ossian for the Art of J.M.W.Turner"<div style="text-align: center;">
<span style="color: #76a5af; font-family: Georgia, Times New Roman, serif; font-size: x-large;"><b>Professor Murdo Macdonald (University of Dundee)</b></span></div>
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<span style="color: #76a5af; font-family: Georgia, Times New Roman, serif;">This landscape painting by Turner was formerly known as "Welsh Mountain Landscape" - but does, in fact, depict a Scottish mountain scene: "The Traveller - Vide Ossian's War of Caros" (1802).</span></div>
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<span style="color: #76a5af; font-family: Georgia, Times New Roman, serif; font-size: large;">We're very excited to be welcoming Professor Murdo Macdonald to Romantic Realignments this week. He's here to speak to us about the painting you see above: one which has been mistakenly claimed as a representation of Welsh - rather than Scottish - landscape for many years, and is only now being considered in relation to the Scottish legend and verse that inspired Turner to create it. </span></div>
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<span style="color: #76a5af; font-family: Georgia, Times New Roman, serif; font-size: large;">The identification earlier this year of J. M. W. Turner's lost 'Ossian' painting dating from 1802 (see Macdonald and Shanes, forthcoming) provides a starting point for noting Turner's intense engagement with poetry throughout his career and allows one to give a new reading of his later Ossian-related work ‘Staffa: Fingal’s Cave’, exhibited in 1832. The fact that Turner’s 1802 painting became detached from its title may reflect the cultural politics surrounding the reception of Macpherson’s ‘Ossian’ at the time. Turner’s painting can now take its place as part of the response to 'Ossian’ of artists throughout Europe.</span></div>
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<span style="color: #76a5af; font-family: Georgia, Times New Roman, serif; font-size: large;">Do come along on Thursday: this promises to be a truly fascinating talk and, as ever, all are welcome to attend both the paper and the wine reception that accompanies discussion afterwards. We look forward to seeing you then!</span></div>
Anonymoushttp://www.blogger.com/profile/07958145658444598131noreply@blogger.com0tag:blogger.com,1999:blog-5982048100893250619.post-37246929651986124082013-11-21T21:09:00.000+00:002013-11-22T08:27:11.258+00:00CALL FOR POSTGRADUATE SPEAKERS<div style="margin: 0px; text-align: justify;">
<span style="color: #3d85c6; font-family: Georgia, Times New Roman, serif; font-size: large;"><i>In case you missed it in e-mails, and with the deadline fast approaching, here's a reminder of our Call for Postgraduate Speakers:</i></span><br />
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<span style="color: #3d85c6; font-family: Georgia, 'Times New Roman', serif; font-size: large;">We warmly invite postgraduate students and early-career academics to submit </span><b style="color: #3d85c6; font-family: Georgia, 'Times New Roman', serif; font-size: x-large;">100-200 word abstracts</b><span style="color: #3d85c6; font-family: Georgia, 'Times New Roman', serif; font-size: large;"> for </span><b style="color: #3d85c6; font-family: Georgia, 'Times New Roman', serif; font-size: x-large;">20 to 30 minute papers</b><span style="color: #3d85c6; font-family: Georgia, 'Times New Roman', serif; font-size: large;">, to take place in 2014 across a range of available dates.</span></div>
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<span style="color: #3d85c6; font-family: Georgia, Times New Roman, serif; font-size: large;">Papers can focus on the art, literature, ideas and philosophies of approximately 1780-1830, but the scope is by no means restricted to this period. We are also keen to encourage an interdisciplinary, international and transhistorical approach to studies of Romanticism. Our aim is to provide a forum - within a friendly, workshop setting - in which speakers can try out both new papers and more finished pieces, and in which lively discussion can flourish.</span><br />
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<span style="color: #3d85c6; font-family: Georgia, Times New Roman, serif; font-size: large;">If you would like to be considered as a postgraduate student speaker at the seminar, please submit an abstract of <b>100-200 words </b>to the current convenors by <b>30th November 2013.</b></span><br />
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<span style="color: #3d85c6; font-family: Georgia, Times New Roman, serif; font-size: large;">E-mail submissions to Katherine Fender, Sarah Goode and Honor Rieley at: <a href="https://owa.nexus.ox.ac.uk/owa/redir.aspx?C=O8NcMIkECk-AivDO_2ZOddkUkJ2UutAII2DhyDoKop51K47kj8wAulTGMX39MawMt7QnyOioV7Y.&URL=mailto%3aromantic.realignments%40gmail.com" target="_blank"><b>romantic.realignments@gmail.com</b></a></span></div>
Anonymoushttp://www.blogger.com/profile/07958145658444598131noreply@blogger.com0tag:blogger.com,1999:blog-5982048100893250619.post-81878446730518367932013-11-19T17:54:00.000+00:002013-11-19T17:54:20.186+00:00Cancellation Notice, Week 6 (21 November)<span style="color: #cc0000;">We're sorry to announce that this week's talk by Paul Whickman has had to be cancelled due to illness. </span><br />
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<span style="color: #cc0000;">We hope we'll be able to reschedule this paper for a later date, so really it's a postponement not a cancellation!</span><br />
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<span style="color: #cc0000;">Have a great 6th week, and we hope to see you all next Thursday for Murdo Macdonald's paper on Ossian and Turner.</span><br />
<br />Anonymoushttp://www.blogger.com/profile/04246740966042458681noreply@blogger.com0